Sunday, April 9, 2017

Classics: Three Epic Hollywood Feuds By Lauren Ennis

It is often said that there is no business like show
business, and perhaps there is no business that is quite so turbulent, unforgiving,
and ultimately ruthless. With select few parts to be filled and innumerable
hopefuls to fill them, it is little wonder as to why Hollywood is infamous for
its hostile working environments. By the same token, it is no surprise that
tinsel-town in all its toxic glory treated audiences to some of the most
gritty, malicious, and utterly outrageous feuds in modern history. This week
I’ll be turning the spotlight on three Hollywood feuds that were so vicious,
vindictive, and venomous that they continue to fascinate viewers even in
today’s era of Twitter tirades and social media scandal.

The feud to end all feuds

Bette
Davis and Joan Crawford: Perhaps the most infamous feud on
this list, the ongoing battle between Bette Davis and Joan Crawford is almost
as legendary as the stars themselves. The ultimate throw-down that culminated
in the 1963 Oscar race had relatively humble origins, however, with struggling
character actress Davis resenting glamor-queen Crawford’s success, which she
was commonly said to have achieved by sleeping her way through the ranks at MGM.
Similarly, Crawford came to begrudge the critical acclaim that theater-trained
Davis began receiving which had always eluded her. This dislike escalated in
1935 when Davis began a flirtation with her Dangerous
co-star Franchot Tone, only to later learn to her dismay that he had begun a
relationship with Crawford during filming. Making matters worse, Davis was
forced to face her romantic rival on a regular basis, as Crawford visited Tone
daily on the set for the remainder of the shoot. Crawford and Tone married
later that year, but ultimately divorced in 1938. Relations failed to improve
between Crawford and Davis, however, as Davis’ star steadily rose throughout
the remainder of the 1930’s, while Crawford’s gradually declined. By the 1940’s
Davis had become the undisputed queen of Warner Brothers, until she faced
competition with the arrival of Crawford, who had been released from her
contract by MGM in 1943. In an effort to reign in the fiery and independent
Davis (who had sued the studio in 1936) Warner Brothers began pitching scripts
that had once been strictly Davis’ territory to Crawford. Matters went from bad
to worse for Davis after Crawford won the 1945 Best Actress Oscar for Mildred Pierce, a role that Davis had
previously rejected.

Both stars continued to turn in exemplary performances
into the 1950’s, but as the 1960’s approached found it increasingly difficult
to find work in a youth-centric industry. It was at this time when both women
were facing career lows that they collaborated on what would become one of
their most beloved hits, the 1962 horror cult classic, Whatever Happened to Baby Jane?. Initially, the two women attempted
to put their differences aside, but eventually manipulations by the studio and
the press (including private conversations from both actresses leaked in an effort to draw publicity) reopened old wounds. By the time that filming wrapped, their working
relationship had completely deteriorated with Davis infuriated by admitted alcoholic Crawford’s
inebriated on-set antics and discrediting interviews with local gossip columnists and Crawford incensed by Davis’ abrupt manner and
disparaging comments. After shooting finished the real war had only just begun
when Davis was nominated for a Best Actress Oscar and Crawford launched a smear
campaign to ensure her rival’s loss. When the Best Actress award went to Anne
Bancroft Crawford took to the stage and eagerly accepted on her behalf, as
Bancroft was performing on Broadway and unable to attend. While Davis was
understandably bitter, she still put her work first when she was approached to
re-team with Crawford in the follow-up horror film Hush, Hush, SweetCharlotte.
Almost as soon as filming began, however, the old flames reignited, prompting
Crawford to withdraw from the project and her role to ultimately be recast with
Davis’ long-time friend Olivia de Havilland in the part. The pair rarely spoke
publicly of their infamous animosity, although Davis would tantalizingly advise
curious reporters to, “Meet me in private if you want to know what I really
think”.

Olivia, Olivia, Olivia, why is it always Olivia?!

Olivia
de Havilland and Joan Fontaine: Speaking of Olivia de
Havilland, she was also half of another legendary feud, one that lasted
virtually from cradle to grave with her professional rival and sister, Joan
Fontaine. Born just fifteen months apart, the two reportedly engaged in what
might be the most bitter sibling rivalry this side of Downton Abbey (yes, I’m looking at you Mary and Edith), which
ultimately resulted in an estrangement which lasted until the end of Fontaine’s
life. The feud began as a textbook case of sibling rivalry as both girls
scrambled for their mother’s affection after their parents divorced shortly
following Joan’s birth. According to Fontaine’s memoir, No Bed of Roses, the rivalry quickly developed into abuse as de
Havilland bullied, intimidated, and allegedly assaulted her younger sister. In
one particularly disturbing passage, Fontaine even describes an incident in
which de Havilland allegedly fractured her collarbone. As the sisters grew
older, they continued to compete with each other in school, romance, and
eventually their careers. Both sisters pursued careers in acting, but de
Havilland was the first to score a contract when she signed with Warner
Brothers in 1935. Fontaine stated that she was interested in auditioning for
Warner Brothers as well, but eventually signed with RKO in 1937 after their
mother insisted that they should work for separate studios. She also began work
under their stepfather’s surname after their mother warned her that “two de
Havilland was too much for one marquis”. De Havilland built a substantial resume
in a series of feisty girl-next-door roles, with particularly notable
performances in adventure films opposite her friend and frequent co-star Errol
Flynn. Meanwhile, Fontaine began building her own career in a series of comedic
parts including The Women and Gunga Din. De Havilland earned the
family’s first Oscar nomination for her role as Melanie Wilkes in Gone with the Wind, but it was her
co-star, Hattie McDaniel who took home the award for Best Supporting Actress.
Interestingly, Melanie Wilkes was a role that Fontaine claimed to have auditioned
for. According to her memoir, Fontaine arrived to audition for director George
Cukor (who was later fired from the project), but was rejected on the grounds
that she was, “much too stylish” to play Melanie. She then goes on to write
that when she learned of the reasoning behind her rejection she suggested that
the director audition her sister if he needed a less stylish actress, inspiring
him to eventually cast de Havilland. Regardless of the truth of her account,
the way in which Fontaine takes credit for de Havilland’s landing her most
famous role and her comments regarding de Havilland’s fashion sense speak volumes
about their relationship.

Fontaine went on to earn her first Oscar nomination for
her role as the second Mrs Dewinter in Rebecca
in 1940, but it wasn’t until the following year in 1941 that she won the first
Oscar in the family for her role in Suspicion.
While de Havilland was reportedly supportive of her sister’s win, relations
between the sisters remained strained they continued to engage in a series of
crosses and double crosses in their personal lives. In breaking with one of
sisterhood’s golden rules, Fontaine married de Havilland’s former boyfriend,
Brian Ahern in 1939. Making matters worse, Fontaine told de Havilland that de
Havilland’s then boyfriend, renowned playboy Howard Hughes had made a pass at
her at Fontaine and Ahern’s wedding rehearsal. Later in 1946 when de Havilland
married the four times divorced writer Marcus Goodrich, Fontaine joked with the
press that “It’s too bad Olivia’s husband has so many wives and only one book”.
By the time that de Havilland won her first of two Oscars in 1946 for her role
in To Each His Own, their
relationship was reduced to such a severe estrangement that de Havilland
refused to acknowledge Fontaine when Fontaine approached her backstage to
congratulate her (a moment which was famously captured by a photo in Photoplay
magazine). While de Havilland went on to win a second Oscar in 1949 for The Heiress, Fontaine never earned
another Oscar nod. When their mother died in 1975 Fontaine was out of the
country and later said that she only learned of her mother’s death by chance,
as de Havilland did not notify her of the death or invite her to the service.
Through all of the ups and downs of their tumultuous relationship de Havilland
refused to speak of the feud saying only, “A feud implies hostile conduct by two
parties. I have no memory of any hostile conduct on my part”. In a bizarre
twist Fontaine later claimed that the entire feud was a fabrication created by
the press, despite all of the allegations that she had publicly made.
Regardless of Fontaine’s attempt to retract her allegations, the sisters
remained estranged at the time of Fontaine’s death in 2013, and Fontaine reportedly
became estranged from her daughter as well after her daughter refused to sever
ties with de Havilland. Fontaine once said of her sister, “Olivia has always
said I was first at everything. I got married first, I got an Academy Award
first, I had a child first. If I die, she’ll be furious because again I’ll have
gotten there first”. Movie buffs can only wonder what de Havilland makes of
that ironic statement today.

One screen is too small for two contenders

Frank
Sinatra and Marlon Brando: Proving that feuds aren’t just for
the fair sex, two of tinsel town’s most legendary tough guys engaged in a spat
of their own. While working on the classic musical Guys and Dolls Frank Sinatra was dismayed to find that he had been
cast in what was arguably a supporting role to Marlon Brando’s lead. When later
asked about his sour behavior on set Sinatra admitted that he felt slighted by
Brando’s being cast in the lead, a part that Sinatra argued, “just didn’t fit
him [Brando]”. In retaliation, Sinatra was cold to Brando and was described by
co-star Regis Toomey as being “snotty and very difficult” throughout filming.
In an attempt to smooth their working relationship Brando offered to rehearse
and run lines with Sinatra, to which Sinatra snapped, “I don’t go for that
Method crap”. During filming Sinatra wanted to continue his usual screen habit
of shooting each scene in one take, while theater-trained Brando preferred to
rehearse, shoot multiple takes, and take the time to fully embody his
character. When Brando had finally tired of Sinatra harassing him and referring
to him as ‘mumbles’ and ‘the world’s most overrated actor’ he devised a plan to
get even by blowing his line on purpose during one of their scenes. By the time
that Brando finally decided to get his line right, the scene, in which Sinatra
was required to each cheesecake (which he loathed) was shot for a total of nine
takes. Infuriated at Brando’s prank, Sinatra leapt across the table waving his
fork like a weapon and shouted, “these f***ing New York actors; how much
cheesecake do you think I can eat?!”As
filming continued, the co-stars refused to speak to one another and the cast
and crew were forced to relay messages between them, splitting the cast into
two camps; pro-Sinatra and pro-Brando. While the film was a hit, both vowed to never
to work together again, with Brando describing his co-star as “the kind of guy
who when he dies, he’s going to go to heaven and give God a hard time for
making him bald”. While they never worked together again after their explosive
collaboration their feud remains the stuff of Hollywood legend.

And now, as a bonus here is the trailer for the FX hit drama Feud: Bette and Joan, which is inspired by the real-life feud between Davis and Crawford.